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Essay / Research Paper Abstract
A 9 page paper which first defines the classic dramatic structure and then demonstrates how Shakespeare's Hamlet fits the pattern. After discussing what type of action belongs in each phase of the dramatic structure -- setup, complication, climax, and resolution -- the paper shows where each of these occurs in Hamlet. Bibliography lists 6 sources.
Page Count:
9 pages (~225 words per page)
File: D0_Dramatic.doc
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Unformatted sample text from the term paper:
553). Technically, there are two kinds of drama -- tragedy and comedy -- as well as their many stepchildren such as opera, melodrama, farce and burlesque. Although there are great
differences between the two in treatment, characterization, and tone, tragedy and comedy share a basic similarity of dramatic structure; this paper will examine the nuances of that dramatic structure as
they apply to Shakespeares Hamlet. Traditional dramatic structure has three distinct movements: the setup, the complication, and the resolution. Between the complication and the resolution -- or, occasionally, part-way through
a particularly gripping resolution -- falls the climax, the emotional high point of the play. Graphically represented, the structure of dramatic tension would resemble a tremendously off-center A, with its
long left leg -- the rising action -- building from setup through complication to climax, and then dropping off suddenly into resolution. In a typical twentieth-century play, these components are
often reflected in a three-act format, with the setup occurring in the first act, the complications in the second, and the climax and resolution in the third. This neat division
was not the norm in Shakespeares time (Hamlet has five acts, for example) but still it is possible to clearly identify the components of classic dramatic structure within the Shakespearean
five-act pattern. The setup creates the plays "world", introduces us to the characters, and lays the groundwork for some of the conflict that will emerge more definitively later. Edward Rosenheim
points out that in the plays setup, which he calls the exposition, "the relevant circumstances which exist at the start of a dramatic action are made clear." Rosenheim goes
on to explain that "the exposition may be regarded as antecedent to the plot itself; it reveals, that is , a state of affairs from which the plot proceeds", and
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